Month: October 2009

The Juilliard Jazz Orchestra’s performance on October 7^th was my first experience with live jazz. My first thought was how surprised I was at how many people came to hear such a young group of musicians play. After hearing both sets, I understood how talented the performers were, and their young age made it even more impressive.

Jazz has never been my favorite kind of music, as I have always preferred a set melody that I could follow.  However, the syncopation and somewhat random tunes have begun to grow on me. My favorite pieces that the orchestra played were the upbeat tunes of “Freckle Face”, “Clap Hands, Here Comes Charlie!”, and “Tickle Toe.” Each of these had surprising tempo changes and very quick beats that forced me to pay closer attention and made me want to get up and dance. Although the song “To You” had a much slower beat, it was still one of my favorites. I felt I could understand the emotion in each drawn out note of the saxophones and trombones, and almost felt like the “you” the song was directed at.

I found the tenor saxophonists and the trumpeters the most impressive. They each performed with a lot of visible passion and gusto and seemed extremely experienced. I also really enjoyed the performers in the rhythm section. Although they did not have too many solos and they mostly just blended in with the music, their consistency and concentration made them stand out. Their beats provided the backbone for each piece, and without them, the sentiment and fluidity of the music would be lost.

The aspect of watching jazz live that is the most memorable to me is being able to watch how quickly and skillfully each of the performers’ fingers moved. I can’t imagine being able to focus enough to move my fingers with such speed while having to blow in accordance with the rhythm and make sure not to miss my cue. I was also extremely impressed when I heard that the students had learned and perfected one of the pieces in less than 24 hours.

Even though I still don’t love jazz, this concert made me like it a lot more than I had. The skill and precision that I witnessed and heard made me appreciate the complexity of the music and I look forward to learning more about it.

The performance of The Marriage of Figaro at the Metropolitan Opera on the night of September 22^nd was fantastic. Being my first opera, I did not know what to expect or how interesting it would be. However, from the moment the conductor began his extravagant motions, I knew this would be an enjoyable opera, and I was not wrong.

The opera began with the overture and the conductor was clearly visible by his elaborate motions and gestures. I did not find this to be a problem, as I thought it added more emotion to the opera and showed the conductor’s love for opera. Once the curtain was raised, the opera began in Italian. I was at first a little concerned about this because I do not know Italian and I did not like the idea of having to look at the little screen in front of me to understand the opera. However, as the opera progressed, I grew accustomed to listening to the opera and then reading the translation on the screen. It was helpful that most of the lines were spoken twice, which gave me more time to listen and read.

The singing and music were amazing to say the least. All the performers had amazing voices and the music fit the situation at hand. I found it remarkable how the performers were able to synchronize with the orchestra almost perfectly. In addition to the wonderful singing and music, the story itself was interesting. Although highly unlikely to occur in real life, it was very entertaining to watch. My favorite part was when Figaro discovers that Marcellina, the woman who he is being forced to marry, is actually his mother. This was a very enjoying scene because of its irony.

The only thing that can be compared to the acting of the opera is the set itself. I was amazed when the curtain was first lifted and it looked as if the sun were in fact shining on stage. I wondered how they managed to make it look so realistic, and still do not know the answer. It was very interesting to watch the light change as the opera progressed. As the day progressed in the opera, the light gradually changed from daylight to nighttime. However, when the set began to move, I completely forgot about the lighting. Many people were in awe when the set first began to spin, as was I, for I had no idea this was going to happen. I was surprised that the performers were able to keep their balance, concentration, and continue singing as the stage was moving, for the stage was at an angle, making it very easy to slip.

Overall, The Marriage of Figaro was an amazing opera, especially since this was my first time attending an opera. The singing was great, the orchestra was amazing, and the set was remarkable. The plot kept almost everyone interested and hardly anyone was upset when they left the Metropolitan Opera that night.

The Garage (99 7th St) has nightly free jazz performances.

The “Justin Lees Trio” consisted of Rudy (drums), Justin, (double bass) and Michael (hollow-body guitar). The atmosphere of the venue was perfect- the music was right next to the bar and the dim lighting created a very mellow and comfortable atmosphere.

The music was upbeat, but not flashy or eccentric- just perfect for the mood of the crowd and bar. Though not an expert on jazz i fee confident enough to say the band played with a blues style, and perhaps even a sort of swing as well. The drummer mostly tapped the symbols, though he kept it splashy (for lack of a more fitting word). The guitar was done beautifully- the hollow-body guitar was a perfect choice provided a deep and bright blues tone. Most impressive was Justin on the double bass. I am not sure if this is typical or atypical of a jazz performance but he was the centerpiece to me. His hands moved so quick and the rhythms were so engaging. When he took the baseline for a walk he took you along with him through all the highs and lows. He had a few solos and they were masterful and the feeling with which he played was palpable.

Since this is a review and i am supposed to be a journalist i must offer one piece of criticism- the bass, while played beautifully, was too quiet, and while it may have been fine for the regular playing, a bit louder would have made a big difference for the solos.

I would definitely recommend this performance to a friend- the band was very listenable and even a novice like myself was immensely engaged. The lighthearted mood and low key atmosphere make it an ideal place to meet a friend, drink, dine, and listen to wonderful music.

I was pleasantly surprised after viewing The Marriage of Figaro at the Metropolitan Opera. Never having sat through a three and a half hour long Italian opera before, I was expecting a tedious and confusing show. However, I found that I did not need to speak Italian to appreciate the beauty and understand the strong emotions in the plot.

The music’s dramatic changes from cheerful, light melodies to suspenseful, dark refrains clearly depicted the ever-changing emotions of the characters. The audience felt Susanna’s frustration and Figaro’s anger solely from their tone and pitch. Each character’s voice, whether booming like the Count’s or airy like Cherubino’s, was strong and beautiful and translated their feelings well. I was also impressed by the conductor’s energy and devotion to the orchestra. All of his intense directions and passion were visible and emphasized how important the music was.

Another aspect of the opera that made a strong impression on me was the scenery and lighting. As the story moved from day to night, the lighting changed slowly and made the transition realistic. The only thing that could distract me from the captivating singers was the amount of detail in the set. Everything on stage was perfected to fit the scene. The upholstery and fabrics used, as well as the elaborate moldings, sculptures, and paintings, conveyed the Count’s wealth. When the stage completely rotated during a scene-change, I was in awe. The singers managed to stay perfectly still and maintain their high-pitched notes while the stage was in motion.

The plot was rich in humor, satire, mischief, love, and betrayal. The overall joviality and ridiculousness of the story successfully mocked the differences between upper and lower classes. The actors got the audience to laugh numerous times throughout and feel happy when everything finally worked out at the end. I was extremely impressed with the acting, singing, setting, and orchestra, and I look forward to seeing more operas in the future.

The Marriage of Figaro was a wonderful opera, especially for first-timers like myself. It was filled with humor, mystery and most importantly, beautiful music. The voices were all captivating and key in playing up the plot (which could have used all the help it could get). All the singers were on point with their tonality, whether they intended to show sarcasm, infatuation, flirtation or any of the other motifs of this opera. I would argue that the best singer in the opera was the Countess, portrayed by British soprano Emma Bell. She truly stole the show in her song about her husband’s infidelity and their lost passion.

Another aspect of the show that personally took my breath was the set. It was brilliantly designed to show the classical architecture and grandeur of the opera. The set was also key in the story; each set precisely reflected the characters’ standings in society. For example, Figaro’s and Susanna’s room was large, but it was also cluttered, perhaps to reflect the busy nature of their lives but also to show that the Count respects them enough to live in such a large area in his own home.

One of my main dislikes about this show was the ostentatious conductor. It was reflected in both his physical positioning as well as the music he conducted. He stood very high, so he was clearly visible during the show. He also conducted with unnecessarily powerful and flamboyant motions. His conduction of the music was also domineering; certain areas that should have focused on the singing or the actual actions onstage were overpowered by the volume and emphasis on the music.

Regardless, the opera was still brilliant. Although there were minor flaws (the rushed conclusion, the conductor, etc.) the pros definitely prevailed. This was a pleasant first encounter; it even inspired a greater appreciation for the opera. I would recommend this opera for first timers and heavy frequenters of the opera alike.